These days, who would ever imagine that the first commercial recording of Vivaldi’s Four Seasons, one of the most popular classical works in the world, had been released as late as 1947? And how many of us would be able to name the soloist on this pioneering release (on the Concert Hall label)? It was in fact American violinist Louis Kaufman (1905–1994) who was the first to unearth, in its entirety, Il Cimento dell’Armonia e dell’Inventione, the set of twelve violin concertos of which the Four Seasons makes up the first four. Since Kaufman, countless other violinists have left their mark on this masterpiece of the Italian Baroque, developing its treasure trove of invention in line with the trends of the day. Itzhak Perlman himself has made two recordings of it, on both occasions directing from the violin. His first version, featured here, was made with the London Philharmonic in 1976, while the second, with the Israel Philharmonic, dates from seven years later (see volume 32).
Everything there is to say or write has already been said and written about these four concertos, whose main tunes we can all hum, so omnipresent are they in our everyday lives. And yet, generation after generation, virtuosos the world over continue to delve into the poetic and harmonic substance of these phenomenal works. Technically extremely demanding, they showcase not only a soloist’s musicianship, but also his or her taste — and that of the orchestra — with regard to colour and pulse. For rarely has a fully composed work allowed its performers so much freedom of expression. It’s worth remembering that Baroque composers often used a kind of shorthand, understood by contemporary instrumentalists, and expected performers to improvise and incorporate their own ornamentations. As always, it’s the actor that brings the printed page to life, whether in a Shakespeare play or a Vivaldi concerto.

One of the finest Four Seasons ever put on disc, which in stylish freshness (Alan Loveday in superb form) puts many of the period-instrument versions in the shade. ‘I have never enjoyed Vivaldi so much,’ said the original Gramophone review, and I can go along with that. This reappeared not long ago as one of the ‘Penguin Classics’, but is now made the more enticing by the inclusion of three more hand-picked Vivaldi concertos which are hardly less winning or more appealingly played.

A fascinating, joyous set of rare works by the 18th century Austrian composer/violinist Vilsmaÿr, published it its entirety for the first time here, 300 years after its first publication. Many of the Partitas adopt what is called Scodatura, where open strings are tuned differently to standard tuning, adding some interesting colours to the music. Pisendel was a famous Baroque violinist and composer. His fiendishly difficult Solo Violin Sonata in A minor is an unpredictable, tempestuous and capricious work, showing great scope and ambition in the development of the violin. To round of the recording, the famous Passaglia in G minor by Biber, a sombre, moving work and a perfect end to this noteworthy 2CD set.

Though there are many beautiful singing voices in jazz today, Viktoria Tolstoy is one of a kind. A great melodramatist of jazz who is also bipolar, she makes happiness sound fragile and threatened, and bitterness sweet and enchanting. She has framed and perfected this art on a conceptual level since becoming an ACT artist in 2003, whether concentrating on material from Esbjörn Svensson – whose e.s.t. began to some extent as her accompanying trio – or, most recently, on Herbie Hancock, classical originals, Swedish standards or repertoire from Russia, the home of her ancestors.

The world’s best-known boys’ choir begins its close cooperation with Universal Music with a major Christmas album. With the likes of Rolando Villazón and Aida Garifullina, the Choir Boys have invited two stars of classical music to be their guests. And instrumental support is provided by the band WienerWunderAllerlei and the brass ensemble phil Blech Wien.

Two of Vaughan Williams’ most popular works, Wasps Overture and Tallis Fantasia, are coupled with arguably his greatest and most original Symphony and a delightful multiple setting of a folk-song that enchanted the composer throughout his life.

A compilation of great ballads – many from the American songbook – sung by 2xHD’s best female jazz singers. For a bonus zing, an interpretation of John Lennon’s Oh, My Love by multi-instrumentalist Robert Len was included. This album is the perfect introduction to 2xHDs female jazz catalog.

This album embodies Volume 2 of the great event which was recorded in December 1976 over two nights at the intimate Pawnshop jazz club in Stockholm and considered one of the most famous audiophile recording in music. Both the musicianship and the engineering came together in a magical symbiosis captured on this enduring classic. Recording engineer Gert Palmcrantz used one pair of microphones spaced eight inches apart for the main pick-up, with a couple of microphones placed to register the “live” atmosphere and a few discrete support mikes, all recorded on a pair of two-track Nagra tape recorders in the restaurant kitchen!

“Tasty as is the back-up band and are the outstanding acoustic arrangements, Ms. Fernandez steals the show with a voice that is as unlikely as her cover photo would have you thinking “funky black chick”. She’s no poseur though. If you have any such notions start with side 3’s opener, a cover of Bill Withers’ ‘Use Me,’ which is from where the album gets it title.” — Music = 10/11; Sound = 11/11 — Michael Fremer, AnalogPlanet.com.

Singapore-based vocalist Vanessa Fernandez, 31, has performed hip-hop (Urban Xchange/Parking Lot Pimp) and been a DJ “Vandetta,” or “Miss Vandetta” on Mediacorp Radio’s 987FM. Groove Note and ORG reissue producer Ying Tan decided that Fernandez deserved the audiophile recording treatment and so brought her to Ocean Way Recording in Los Angeles in mid-January 2014 to record this album to analog tape in five sessions.

The album of audiophile-quality covers of soul and R&B classics from the ’70s and ’80s was done in an “unplugged” style with acoustic instruments and arrangements used on all of the tracks. Vocals are tremendously dynamic (no compression or limiting used), with superb presence and detail for all other instruments including the drum set.

The album introduces and throws the spotlight on the fantastic voice of the Singaporean vocalist Fernandez. The song selection includes tunes by Marvin Gaye, Curtis Mayfield, Isaac Hayes, Earth Wind & Fire, Bill Withers, Al Green and others. Now available for Digital Download!

This is a great group of top LA musicians backing superlative performances by a great new singer!!!

Tracklist:
01 – Just Wanna Be With You
02 – Be Thankful For What You Got aka Diamond In The Back
03 – Distant Lover
04 – Hard Times
05 – That Loving Feeling
06 – Simply Beautiful
07 – Use Me
08 – I Love You More Than You’ll Ever Know
09 – Cool Cat
10 – Here But I’m Gone
11 – Be Thankful For What You Got aka Diamond In The Back (alt. take)

Light is the ideal follow up to Vanessa Benelli Mosells debut album on Decca, [R]evolution. This new album includes music by Alexander Scriabin as well as by her mentor, Karlheinz Stockhausen, thus putting together two composers both considered visionaries in their respective different historical periods.